1. Kim Abeles (American, born 1952) Color Guide to Disney Books

Transcription

1.
Kim Abeles (American, born 1952)
Color Guide to Disney Books
Iris print on wove paper, 5/100, 1999
Sheet: 30 x 22 in.
Given in memory of Risa Gerrig '81 by the Gerrig-Peterson family.
UM 2013.11
This print is part of a series entitled Disney Color Code which explores and reveals
the system of coloration used in Disney classics to represent their characters’ traits
in binaries such as good and evil, rich and poor. Color Guide to Disney Books
breaks down Disney’s saturated use of color, absorbing the sensory data and reillustrating it in a logical and informative manner. The scientific use of a Venn
diagram transforms the visual aesthetic into a cognitive new form. This rational
understanding of color playfully recognizes the logicality and thoughtfulness present
within the cartoons.
F.B.
2.
Polly Apfelbaum (American, born 1955)
Tough Love
Two-color lithograph, 59/95, 2007
Sheet: 18 x 22 1/2 in. Image: 18 x 22 1/2 in.
UM 2013.26
A series of curvaceous oscillating bright red lines dominate the composition of this
print, forming a jubilant and energetic bed of red flowers. The curving lines create
myriad organic forms, from puffy cloud-like blossoms to long, narrow vacillating
petals. The pattern established by these differing shapes brings vivacity and
movement to the print. Tough Love bounces the eye from flower to flower as it
follows the dancing forms across the print’s surface. By engaging the viewer in this
dance, Apfelbaum encourages us to viscerally experience the simple pleasure of
aesthetics.
F.B.
3.
Richard Artschwager (American, 1923 - 2013)
Untitled
Sheet: 30 x 22 in.
UM 2013.12
The silhouette of a running man, constructed from a Brillo-like material, quickly runs
across Artschwager’s composition. The coarse patterning contrasts with the soft
smooth contours of his shadow, creating an interplay of texture while
simultaneously highlighting the artist’s use of synthetic materials. The shadow of
this textured monochrome man also lends to the illusion of the silhouette as a three
dimensional object. In conjunction with the man-made materials used to create the
running man, this spacial illusion emphasizes the sculptural elements of the print
and the work doubles as a sculpture.
F.B.
4.
José Bedia (Cuban, born 1959)
Extraña Satisfacción
Three-color lithograph, 59/95, 2002
Overall: 14 1/2 x 43 1/2 in.
UM 2013.27
Influenced by indigenous cultures, Bedia illustrates ideas of spirituality inspired by
the religious traditions of peoples such as the Native Americans and Africans
through a highly personal lens. In this print the artist depicts a hunting scene that
combines a modern hunting tool, a rifle, with the primitive spiritual nature of the
hunt. The narrow, elongated skeleton-like form of the dominant central figure who
oversees the hunt evokes an otherworldly or divine presence. Extraña Satisfacción
explores the connection between the physical and spiritual worlds as well as the
confrontation between nature and machine.
F.B.
5.
Mark Bennett (American, born 1956)
The Effects of Fords on Barbara #52
Cibachrome print, 8/ 20, 2000
Sheet: 40 x 30 in.
UM 2013.28
Bennett’s whimsical work explores the aesthetics of pop culture, while alluding to a
society obsessed with frivolous material gains. In this print, part of a series that
examines a woman’s love and obsession with Ford automobiles, Bennett playfully
critiques the modern day consumer. The words “I don’t care what he says, I am not
walking to temple,” humorously frame the protagonist’s relationship with Ford as a
religious one, powerful enough to forego the Jewish tradition of going to Temple in
observation of Sabbath. The man and dog in the background, whom Barbara faces
away from, serve as symbols of domesticity and family values which are suggested
to have been replaced by shiny fast cars.
F.B.
6.
Nina Bovasso (American, born 1965)
Black Flowers with Rainbow Colors
Cotton base sheet with cotton pulp painting and silk-screen, 27/100, 2006
Sheet: 18 x 24 in.
UM 2013.30
Inspired by nature and favoring saturated color, Bovasso renders a bright, mulitlayered symphony of lines, dots, and botanical forms in this print. A combination of
iridescent color and myriad curving lines in Black Flowers with Rainbow Colors
creates an explosion of energy and joy as undulating forms brush against luminous
and cheery hues of pink, purple, green and blue. Contrasting this sense of elation
are the dark and deeply defined underlying black lines and bulbous black flowers
that burst out across the surface of the print. These black features balance the
saturated colors and establish a manic-depressive undercurrent, inviting the viewer
to reconsider the initial emphatic delight generated by the print’s brightness and
energetic quality.
F.B.
7.
Matthew Brannon (American, born 1971)
Performance Anxiety
Screenprint, 37/200, 2006
Sheet: 27 1/2 x 18 in.
UM 2013.31
Brannon is interested in the connection between social ideals and personal critique.
His work investigates topical social and psychological issues, content that is
masked with a clean aesthetic inspired by classic graphic design. In Performance
Anxiety Brannon explores feelings of inadequacy. In the upper left corner, the
pristine silhouette of horse, posed as if in show and seemingly placed on a
pedestal, acts as a measure of societal expectations. The text, in the bottom right
corner, counteracts this image, alluding to feelings of self-doubt and the inability to
meet such expectations. An abstracted lipstick outline above the text hints at a
sexual deficiency, underscoring the personal nature of the content and highlighting
psychology as a product of environment.
F.B.
8.
Vija Celmins (American, born 1938)
Untitled
Sheet: 30 x 22 in.
UM 2013.13
Celmins interest in photorealism is often inspired from photographs and achieves a
high level of detail, showcasing meticulous surface development and luminosity. A
notable characteristic of her work, as seen in this print, is the lack of a point of
reference, horizon, or distinguishable depth of field. In this untitled print stacked
images of constellations, seascapes, and newspaper clippings create a series of
jagged diagonals that drag the viewer’s eyes along a disjointed path leaving the
viewer unsure of where one universe ends and another begins. The act of stacking
drawings and other multimedia in this print also playfully references the care taken
by Celmins to build up the surfaces of her works with layered marks.
F.B.
9.
Marc Chagall (Belorussian, active in France, 1887-1985)
The Lion and the Urchin
Etching with Aquatint, Hors d’Commerce, 1927/1952
Image: 10 x 19 1/2 in.
UM 2013.32
Influenced by the devout Jewish environment within which the artist was raised,
Chagall’s artwork often references, and exists as a reaction to, the biblical
narratives that he grew up with. Chagall creates a mysterious, moody atmosphere
in this composition dominated by dark, etched black marks. The swirling lines
disorient the viewer, while the imaginative, ghostly figures daunt us. The Lion and
the Urchin evokes an emotional and visceral response from the viewer, highlighting
the artist’s interest in portraying a sentimental essence rather than an anecdotal
tale.
F.B.
10. Chuck Close (American, born 1940)
Untitled
Sheet: 30 x 22 in.
UM 2013.14
Close embarks on an exploration of the self in this print. Each frame within the
overall work varies slightly from the next, as the artist plays with expression,
camera angle, and the presence and absence of a cigarette, consciously
manipulating the image of himself and forging a carefully constructed persona. The
grid-like pattern of the eleven frames is echoed by the pattern of the brick wall
which constitutes the upper left frame. This brick wall reinforces the idea of layers of
the self, established by the subtle variations seen between frames. It also pointedly
refers to the deliberate construction of self-identity.
F.B.
11. Anne Collier (American, born 1970)
Matthew Higgs (British, born 1964)
I Married an Artist
Photographic Print, 2008
Sheet: 20 x 16 1/2 in.
UM 2013.34
Collier and Higgs appropriate a graphic book cover in this print, creating a
humorous commentary on their personal lives as married artists. The married
couple utilizes this image to express a personal view of their relationship as
experienced through their dual identities as artists and as the spouse of an artist.
This print illustrates the notion of art as idea and ingenuity, emphasizing the
significance of appropriation by demonstrating the difference between an original
work and an individual’s idea or copy of an original.
F.B.
12. Amy Cutler (American, born 1974)
Kayayo
One run, one color lithograph, 59/95, 2011
Image: 21 x 16 in.
UM 2013.35
Inspired by female perspective and an interest in the creation of fantastical
narratives, Cutler constructs enigmatic illustrations of women performing
ambiguous, yet familiar, tasks. Kayayo captures a group of five women in the midst
of such a cryptic chore as they stand at the edge of a cliff with various household
objects stacked upon their heads. The weight held on their heads alludes to the
burdens of womanhood, commenting on the pressure placed upon women by their
societal roles as mothers and housekeepers, while the dead end that they stand at
implies the futility in trying to escape such roles. The stark white background allows
the viewer to concentrate on the exquisite detail and message of the narrative.
F.B.
13. Ronnie Cutrone, American (1948-2013)
White Knight
Image: 22 5/8 x 16 in.
UM 2013.36
Cutrone presents an angled and warped checkerboard, overlayed with blocks of
color in this print, creating a dizzying and psychedelic environment. The familiar
cartoon character Felix the Cat, seen riding a white horse chess piece, occupies
this space, and forges a relationship with the viewer. The cartoon looks directly out
at the viewer and waves with a smile, inviting us in to this seemingly uncharted
territory. The artist is able to establish a sense of comfort and belonging, even in
this unfamiliar, mysterious world, by introducing the charming cartoon. Felix
represents human nature, as we relate to his desire for human interaction and
companionship, creating an understanding which aids Cutrone’s endeavor to create
a universal visual language.
F.B.
14. Honoré Daumier (French, 1808-1879)
Noveaux Equipements Pour La Chasse au Lion
Lithograph, "sur blanc", 1857
Image: 8 x 12 in.
UM 2013.10
This nineteenth century political cartoon marks an early acquisition for Richard
Gerrig, as well as a unique collaboration with his sister Risa, in the act of collecting.
Gerrig and his sister first encountered the work of Daumier in an exhibition including
some of the artist’s prints during a visit on Risa’s birthday to the Museum of Fine
Arts, Boston. The collector was immediately drawn to the artist’s political sense of
humor, and purchased this impression a month later. Gerrig’s emotional connection
to the work is grounded in this special moment with his sister, to whom this
collection is dedicated.
F.B.
15. Laurent de Brunhoff (French, born 1925)
Jumping for Joy
Four-color lithograph, 59/95, 2008
Image: 11 x 14 3/8 in.
UM 2013.37
In this work Brunhoff illustrates the endearing character Babar from the Babar the
Elephant series of children’s books, which his father began and he continued. The
jubilant elephant parades across the surface of this print in a series of lively poses,
appealing to the inner child of the viewer. A bright yellow background echoes the
sense of joy established by Babar, who leaps throughout the composition in delight.
Jumping for Joy captures the viewer’s imagination as the fluid motion of the
elephant invites the eye to dance across the print, guiding it through the work, and
drawing the viewer in to a fantastic world of whimsy and cheer.
F.B.
16. Jimmy De Sana (American, 1950-1990)
Kneeling Magical Figure
Sheet: 30 x 22 in.
UM 2013.15
The amalgamation of the body of a crouching man and the image of an openmouthed mask in this photo-collage creates a jarring and enigmatic print. This
jolting figure, cloaked in a ghostly, glowing yellow-green hue and set floating
against a desolate background, leaves the viewer rattled and confused by its
grotesque imagery. Kneeling Magical Figure focuses on the ambiguity and artifice
of flesh, recognizing the human body as an obscure object of desire and
commenting on the photographed body, a real thing subject to darkroom
manipulations and therefore existing somewhere between reality and fantasy. De
Sana’s work combines the human body with a thing, balancing reality and illusion
while simultaneously creating mystery. This print epitomizes the artist’s overall
message, humorously and profoundly realizing the space between the real world
and the fantastic.
F.B.
17. Lesley Dill, American (b. 1950)
Jubilation
Three run, two-color lithograph, 59/95, 2010
Image: 15 x 11 in.
UM 2013.38
Dill explores the role of language in masking and revealing the soul, addressing the
materiality of language and its intrinsic connection to human form. The artist melds
words and phrases with symbolic imagery to highlight this relationship. In this print
two common motifs within her work, leaves and a skeleton, emerge. The skeleton
represents the human soul while the leaves serve as metaphors for skin. Letters
scattered across the page communicate a sense of joy and celebration, offering a
window into the soul. A single thread drapes down across the image, alluding to the
complicated tapestry formed by language through its role in expressing the human
mind, body, and spirit.
F.B.
18. Red Grooms, American (b. 1937)
Pollock's Model A
Lithograph, 28/75, 1997
Sheet: 13 1/2 x 19 3/4 in.
UM 2013.41
Inspired by meticulous observation of the everyday, Grooms glorifies the mundane,
recognizing and celebrating the complexities of his subjects’ daily activities.
Pollock’s Model A highlights this aspect of the artist’s work, illustrating the famed
artist Jackson Pollock in a modest, rural setting with his beloved “Model A” Ford
and wife, Lee Krasner. By depicting Pollock in this personal and humble
environment, Grooms focuses the viewer’s attention on the human nature of
Pollock rather than on Pollock’s celebrity, illuminating and exalting his day-to-day
life. This portrayal, paired with the artist’s copious use of vibrant colors, creates a
print that teems with vitality and offers a charming perspective on the ordinary.
F.B.
19. Kirsten Hassenfeld ( American, born 1971)
Blue Ware Ornamental
Hand stenciled and screenprinted linen pulp with watermarked linen and abaca
collage on cotton base sheet. 27/100, 2008
Sheet: 24 in x 18 in. Image: 24 in x 18 in.
UM 2013.42
Hassenfeld’s work references pottery ornamentation on works ranging from the far
east to Northern Europe. Blue Ware Ornamental illustrates this influence from
traditional decorative arts as well as natural iconography. Hassenfeld melds organic
and geometric forms throughout the work, while her use of the colors cobalt blue
and white recalls traditional forms of decor. The print maintains playfulness and wit
through a series of whimsical recognizable imagery, such as an owl, a diamond,
and a heart, that are interwoven throughout the overall pattern, appealing to the
imagination of the viewer by imbuing the familiar ceramic decoration with fantasy.
F.B
20. J. Fiber (collaborative identity of artists James Esber (American, born 1961) and
Jane Fine (American, born 1958),
Forced Entry
Stenciled linen pulp paint on cotton base sheet with screenprint, 27/100, 2009
Sheet: 24 x 18 in. Image: 24 x 18 in.
UM 2013.39
J. Fiber’s work is a collaborative effort between artists and spouses, James Esber
and Jane Fine. The married couple works section by section, passing their
drawings back and forth and challenging each other with each exchange. As a
result, their work overflows with tension and conflict, overcome by intense,
masculine images of sex and violence that are subverted by feminine decoration. J.
Fiber’s print Forced Entry encapsulates these aspects of the couple’s work. The
print is full of movement and chaos and highlights the play between masculine and
feminine forms, creating a small paradoxical world where soft, curved shapes in
pink exist in a dynamic jagged composition.
F.B.
21. Yvonne Jacquette (American, born 1934)
Fugue State
Linocut, 14/40, 2002
Sheet: 16 1/2 x 12 1/2 in.
UM 2013.43
Jacquette is both a painter and printmaker, working in various printing techniques
such as silkscreen, lithograph, and woodcut. She is renowned for her cityscapes
and landscapes from aerial viewpoints. Fugue State presents a dizzying bird’s-eye
view of a cityscape at night, with suggestions of car headlights blurring as they rush
by on the streets below. The quick, expressive marks suggest movement while the
lines on the buildings are clearly defined, creating both tension and balance.
S.M.
22. Steven Keister (American, born 1949)
Styroglyph
Sheet: 22 x 30 in.
UM 2013.18
Keister works with unusual materials such as Styrofoam to create abstract and
stylized “glyphs,” imagery inspired by Meso-American art. A sculptor by trade, he
begins his process by making casts of voids in packing materials to create the
rounded geometric pieces that he later arranges to make imagery that resembles
Pre-Columbian artwork. These forms are cast in ceramic and painted with bright,
colorful glazes to create stunning sculptures. This print is an example of the
geometric shapes taken directly from a piece of Styrofoam packing material, which
Keister would use as a cast to create the parts for his glyphs. In this piece, he uses
the Styrofoam to transfer its geometric shapes to a two-dimensional design.
S.M.
23. Mike Kelley (American, 1954-2012)
Untitled
Sheet: 30 x 22 in.
UM 2013.19
Kelley’s aesthetic incorporates aspects of nostalgia, humor, and vernacular art, and
often evokes a sense of memory. This work exemplifies aspects of the grotesque
and the uncanny through the depiction of brain and organ-like figures, but is
softened by the wash of playful colors. The imagery is both familiar and foreign,
resulting in an overall unsettling effect. Kelley’s abstract, surreal composition plays
with the viewer’s expectations, simultaneously attracting the viewer through the
bright colors and bubbly forms, while repulsing us by using grotesque imagery.
S.M.
24. Jonathan Lasker (American, born 1948)
Ball Figures I
Three-color lithograph, 59/85, 2003
Sheet: 22 1/2 x 30 in.
UM 2013.45
Lasker’s work is often saturated with bold color fields and schematically rendered
abstract figures, and he frequently applies a system of enlarging small studies. This
print, which is the first in a series of three lithographs titled “Ball Figures,”
emphasizes the round shapes of scribbled black lines as the dominant figures,
while the alternating circles of color ringed-in by black lines create a background.
The abstract figures encourage viewers to make associations with human and plant
forms.
S.M.
25. Man Ray (American, 1890-1976)
Untitled (from the portfolio L'Origine de l'Espace)
Color lithograph, 1971
Sheet: 16 1/4 x 12 5/8 in.
UM 2013.46
Man Ray creates a painterly abstract composition of free-form lines using a limited
color scheme. The delicate balance between line, color, and space emphasizes the
materiality of the work, while the expressive marks and color washes contrast
organically with the jagged abstract forms. The overall graphic quality recalls Man
Ray’s innovative photographic compositions, which explore surrealist abstractions
of familiar images.
S.M
26. Jack Pierson (American, born 1960)
Untitled
Sheet: 30 x 22 in.
UM 2013.20
Pierson approaches photography in a pictorial or painterly fashion, evoking
emotional resonance through his imagery and light filtering effects. This photograph
of an older man captures a fleeting moment of the sitter smiling, hands folded,
suggesting he is engaged in conversation with someone just out of view of the
picture frame. The soft, warm yellow lighting emits a welcoming feeling that draws
the viewer in to the scene. However, Pierson positions the sitter facing away from
the viewer and toward his conversation partner, causing us to become voyeurs to
the intimate moment.
S.M.
27. Paul Henry Ramirez, (American, born 1963)
Licks
Watermarked handmade paper, screenprint, and laser-cut handmade paper,
27/100, 2007
Sheet: 29 1/2 x 19 in.
UM 2013.47
Ramirez fluidly manipulates paper in this playful piece celebrating the materiality of
the print medium. The bubbly figures swirl together, melt, and drip down the page,
pushing the constraints of the space by extending past the edge of the paper. The
bright colors used in the background and the solid forms also enhance the playful
nature of the piece. The rounded shapes and curling lines resemble abstractions of
manifestations in nature like curling vines, raindrops, and bubbling water.
S.M.
28. David Reed (American, born 1946)
Untitled
Sheet: 30 x 22 in.
UM 2013.21
Reed takes an unconventional approach to art, combining Baroque theatricality with
aspects of new media technology. His work, like Baroque painting, has an overall
saturation in light. However, where the lighting in Baroque painting seems to come
from above, the lighting in this piece appears to be coming from behind like it were
a digital image projected on a screen. This piece highlights the more traditional
aspects of art, like color and painterly brushstrokes, while tying in to the aesthetic of
digital media through the backlighting effect and the heavy color contrasts evoking
internet advertisements.
S.M.
29. Dorothea Rockburne (Canadian, born 1932)
Distorted Ellipse
Sheet: 30 x 22 in.
UM 2013.22
Geometric shapes, particularly the ellipse, figure prominently in Rockburne’s
oeuvre. She draws inspiration from harmonious proportions found in nature and
fuses mathematical formulas with beautiful design. This image is taken from the
artist’s notebook in which she maps out her wall painting to embrace the curves of
the architectural space. The viewer is privileged to the artist’s notes in her working
notebook, gleaning an intimate view into the artistic process. Rockburne removes
the painting from its original architectural context and introduces the imagery into a
flat, two-dimensional printed medium. However, the rounded shapes of the
notebook binding and the edges of other pages peeking out from underneath echo
the forms and depth of her original work.
S.M
30. Tim Rollins; K.O.S. (American, born 1955)
The Frogs (After Aristophanes)
Color lithograph, A.P. 17/25, 1997
Sheet: 21 x 30 in.
UM 2013.48
Rollins and K.O.S (Kids of Survival) are a collaborative group based in the South
Bronx that incorporate literary works into their artistic oeuvre. Their artwork draws
from both the content and the actual physical pages of books. This piece, inspired
by the ancient Greek playwright Aristophanes’ comedy The Frogs, incorporates
amphibian-like forms that squiggle and bounce across pages of the text. The
rounded figures in bold hues of blue, green, and yellow lead the viewer’s eye to
dance in the space between the text and images.
S.M.
31. James Rosenquist (American, born 1933)
Paper Clip
Color lithograph, color trial proof V, 1974
Sheet: 34 x 76 in.
UM 2013.49
Rosenquist appropriates glossy color imagery from lifestyle magazines and
advertisements in this dynamic composition. Rosenquist brings together these
seemingly unrelated images of a large paper clip, a female model’s hands, a wallet,
receipt paper, and the winged horse from a Mobil gas station sign to create a
narrative that explores the ad industry in the 1970s. The clipping at the top of the
composition reads “This is love in 1971,” which can refer to the consumerist
obsession of postwar America, especially through the ad industry. Rosenquist’s flat,
easily readable forms could also be drawn from personal experience; the artist was
a sign and billboard painter prior to his career as a fine artist.
S.M.
32. Edward Ruscha (American, born 1937)
Vine/Melrose
Two-color lithograph on Rives, 57/60, 1999
Sheet: 22 1/4 x 30 1/8 in.
UM 2013.50
Ruscha presents an abstract urban landscape with a stippled surface, depicting two
faint perpendicular lines labeled Vine and Melrose. He charts the intersection of
these two major routes in the city of Los Angeles, evoking a street map. The
emphasis on materiality through the speckled ink surface recalls the materials used
in the urban environment: concrete, asphalt, brick. By depicting simply the names of
the streets rather than imagery related to the location, the artist encourages the
viewer to find their own personal meaning and associations to the words Vine and
Melrose.
S.M.
33. Gary Simmons (American, born 1964)
Tri-Wing Span
Four-color lithograph, 59/95 2005
Sheet: 18 x 17 in.
UM 2013.52
Simmons is interested in the aesthetic properties of the chalkboard, and the
aesthetic of erasure plays an important role in his works. His print Tri-Wing Span
represents the repeated image of a black wing arranged in a ring, blocking faint
words in the background. The wing forms are smudged, partially erasing some of
the feather details. The wing imagery itself carries multiple suggestions of
meanings: as symbol of freedom, passage, or religion. The act of erasure highlights
the idea of impermanence and combined with blocking the words in the background
plays a central role as a gesture of critique.
S.M.
34. Laurie Simmons (American, born 1949)
Untitled
Sheet: 30 x 22 in.
UM 2013.23
Simmons’s work touches on femininity and comments on the domestic space in this
series of walking and lying objects. She attaches doll legs to everyday objects,
giving them a sense of movement and bringing them to life. The book in this print
looks as if it has been just put down with its cover left precariously open, conveying
a sense of movement. The doll legs, also open, ties the piece to a feminist
statement about the woman’s role in domesticity and the fetishized female body.
S.M.
35. Kiki Smith (American, born 1954)
The Sybil
Offset-printed, 45/250, 2004
Sheet: 12 x 18 1/2 in.
UM 2013.53
Smith’s artwork typically focuses on the female body, often highlighting both
external body parts and internal organs. Here, she presents a close up, intimate
view of an eye which stretches off the edges of the page. The eye, often thought of
as a window to the soul, assumes additional meaning with the title, The Sybil. In
ancient Greece, a Sybil is a prophetess who possessed the power of divination.
The way Smith frames the eye captures the viewer’s gaze, perhaps just long
enough for her Sybil to make a prediction.
S.M.
36. Accession #: UM 2013.55
Title: Mungo Thomson (American, born 1969)
Dark Matter 0
Sheet: 35 x 25 in.
UM 2013.55
Thomson uses photo-luminescent ink to create a glowing green background,
speckled with blacked out stars. The resulting effect resembles a photonegative
view of a night sky, or a glow-in-the-dark sticker sheet after all the stars have been
removed. This untraditional approach to the printed medium transforms the
traditional setting of the gallery, taking the viewer from a well-lit museum space and
placing them in the dark. The warm glow of light cast onto the viewer’s face when
the work is viewed in a darkened room creates an intimate experience that
emphasizes the physicality of the work.
S.M.
37. John Wesley (American, born 1928)
Under the Sea of Japan
Screenprint in colors, 56/60,1991
Sheet: 28 x 21 3/8 in.
UM 2013.33
Wesley creates a dizzying pattern of blue fish, evocative of decorative wallpaper or
a playful optical illusion. This work achieves this decorative narrative through the
use of a limited range of colors and its overall flatness, echoing a Pop Art aesthetic.
Arranging the fish in a grid format allows the blue negative space to come forward
and compete for space in the foreground.
S.M.

1. Kim Abeles (American, born 1952) Color Guide to Disney Books

Transcription

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